Complete Wooden Nickel Recordings

Styx - Complete Wooden Nickel Recordings

Complete Wooden Nickel Recordings
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Music CD Cover

Artist: Styx
Edition: Music CD
Format: Original recording remastered
CD Release Date: 2005-02-15
Music Label: Hip-O Records
Soundtracks:
Music CD 1
  1. Movement For The Common Man
  2. Right Away
  3. What Has Come Between Us
  4. Best Thing
  5. Quick Is The Beat Of My Heart
  6. After You Leave Me
  7. You Need Love
  8. Lady
  9. A Day
  10. You Better Ask
  11. Little Fugue In "G"
  12. Father O.S.A.
  13. Earl Of Roseland
  14. I'm Gonna Make You Feel It
  15. Unfinished Song
Music CD 2
  1. Witch Wolf
  2. The Grove Of Eglantine
  3. Young Man
  4. As Bad As This
  5. Winner Takes All
  6. 22 Years
  7. Jonas Psalter
  8. The Serpent Is Rising
  9. Krakatoa
  10. Hallelujah Chorus
  11. Rock & Roll Feeling
  12. Havin' A Ball
  13. Golden Lark
  14. A Song For Suzanne
  15. A Man Like Me
  16. Lies
  17. Evil Eyes
  18. Southern Woman
  19. Christopher, Mr. Christopher
  20. Man Of Miracles

Free Music Notes for Complete Wooden Nickel Recordings

Free Music Review: But WHEN should you buy it? Why . . . "Right Away".
Hit: 5 Stars

Sorry, but I just had to mention my favorite song in my review title.

Styx I is something special. Other reviewers note the outside songwriting on it, as if that was a fault. But first of all, these aren't exactly "covers", in the sense that "Lies" (on Man Of Miracles) was. They're not hits you've heard elsewhere, with the possible exception of George Clinton's "After You Leave Me".

I'm talking about songs like "What Has Come Between Us" (by Mark Gaddis), "Quick Is The Beat Of My Heart" (Lewis Mark), and "Right Away" (Paul Frank). Who are these people? I have no idea. Gaddis is apparently still active, but I don't know how I'd begin to find Lewis Mark or Paul Frank.

"What Has Come Between Us" (justifiably included on RCA's Best Of Styx) could be a textbook example of how to be excitingly progressive within the confines of a short song. The intro is positively cinematic, with a two-note ostinato on piano leading to a stair-stepping riff, aggressively frustrated -- the guitars aren't merely "fuzzy"; they have thorns. After this brief, wordless drama plays out, the song descends into minor key, with organ vibrato'ing like a sigh. Then, there's another short "intro" for the song's new key and tempo. I'm not sure exactly what instruments I'm hearing -- Harpsichord, definitely, perhaps a mandolin, and

THE SINGLE MOST TASTEFUL USE OF A SITAR IN THE HISTORY OF POP MUSIC.

You'll just have to hear it. And it might take you more than one listen to notice it. Sneeze and you'll miss it. It's just the tiniest touch, way back in the mix, to conclude a miasma of melody. But the resonance, even at such low volume, will warm the back of your neck -- even if you don't realize what's doing it.

Now that is class.

Dennis DeYoung's verse singing is surprisingly, wonderfully humble. It's a real treat to hear him, throughout this collection, unaware of his operatic capacity, with a touch of insecurity. His upper range can be unbearably strident, but he sings this one in a sweet, round baritone. Then there's the chorus, in smooth harmony, with a minimum of the vibrato and piercing shrieks of the Tommy Shaw era (Shaw is a minor genius, yet I still feel he ruined the band.) The song also features a break reminiscent of the intro, more elaborate harpsichord work, and a beautifully bittersweet conclusion. I'm not sure any of the band members ever wrote a song this good.

"Quick Is The Beat Of My Heart" is a relentless, teeth-grinding tale of speed addiction, with a churning guitar tone unlike I've ever heard. James Young belts out the tune in a flawless blues style, unafraid to go nasal to hit those high notes. The simple, recurring theme "I wish I could quit, but I can't, and it's rough" is heartbreaking in it's stupid truth. The song repeatedly resolves to a brooding E minor, and ends with a harsh, inhuman echo that YES, PREDATES Pink Floyd's "Dogs".

"Right Away" is just a sweet, short tune that ranks alongside "Dear Prudence" and "I'm Not The One" in the D-Major-With-Descending-Basslines category. The intro is especially touching, with two guitars in octaves (one on slide), outlining a simple melody absent from the rest of the song. A slight sense of hurriedness lends a modest charm. J.Y. sings this ballad in his high voice, which could be a disaster but somehow isn't. He repeatedly alternates between the major and minor thirds (F# and F natural) in classic blues style -- and on the second verse, doubles his lead perfectly with the slide guitar. The chorus is chordally similar to another Floyd tune, "Comfortably Numb", though certaintly far more upbeat, even rollicking. If there's any flaw to this song, it's the endless, cheery repetition of the chorus, while the bittersweet verse structure is too-soon abandoned.

. . . *whew*. And that's just a fraction of Styx I, which is just one-quarter of this set (Be glad I didn't delve into analysis of "A Day" from Styx II!) The band members themselves wrote many great tunes, but I wanted to point out that the outside material might be a *strength*, and not a detraction.
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